Language Poets: An Overview

"Language poets" have established themselves as the most rigorous and the most radically experimental avant-garde on the current literary scene.

Language poets have often reminded us, the question of LANGUAGE stands at the center. Language poets are interested in exploring experience through the written word. That includes any. Language poets have continued that exploration for the last three decades.

Language poets were so sociologically savvy; they knew better than anyone. Language poets had two provocative insights, which they pushed. Language poets are so significant, that the crux of the matter is a political one.

Language poets had lost the instinct for nature and were unwilling to acquire it through discipline. Language poets had to destroy it.

Language poets have noted the way in which grammar structures tend to support the power structures of western societies. Language poets were a long way away from the lyrical likes of "The Lake Isle of Innisfree."

Language poets were in a bitter struggle over questions of poetic inheritance. I am sure you are.

Language poets were "taking over." Books and magazines were being published by writers. Language poets had begun writing sequences, some of which were already being published in Lynx.

Language poets are chosen for this study from the multitude of similarly oriented. Language poets are also included, as well as some poetry in translation. The poems take.

Language poets were the best masters of discovering and using metaphor. Language poets love metaphors, another case of "language charged with meaning."

Language poets have claimed in the past to be politically and artistically progressive, neither. Language poets are amazingly conservative in the cosmetic "look and feel" of the poem. The difficulty.

Language poets had, at least at an earlier point, a real agenda. They were able to critique. Language poets were attacking an Establishment, but it’s hardly the case that today.

Language poets have joined the academy. Has the latest avant-garde expired? Language poets are for the most part intensely interested in literary theory, and thus see. Language poets are often criticized for being over-analytical; Palmer’s work can be both. Language poets are sometimes addressed in English 210, 284, 285, 265, 261, and 288; and theories of.

Language poets are an extremely diverse though networked group of practitioners. Language poets have always practiced. The only American formalists of the century may well turn. Language poets have left the area, and young writers tend to have conflicting opinions.

Language poets have left open as much as possible their movement through time (things they write).

Language poets have struck ore in their discovery of untapped creative depths. Language poets have refreshed the scene wonderfully, though I sympathies with those who find some.

Language poets use mnemonics to help you memorize words in the language. Language poets have been constructing caves, rooms, hermits’ cabins, abandoned houses, temples, the nine rings of hell. Language poets have attempted to create false power structures or social functions much?

Language poets are good–and McHugh is an extraordinary one. They shuffle language. Language poets do this by upsetting the conventions of poetry through oftentimes. Language poets do make crazy spew the way it comes out pouring, naturally or semi-naturally.

Language poets are out to debunk. The issue is not then, reference per se. Language poets are just as capable of writing drab prose as anyone else.

Language poets have the aesthetic clothes to wear for perhaps a good one-third or more.

Language poets have been not only greatly influenced by haiku, but also often publish haiku. Language poets write "renku" or linked verse in patterns.

Language poets do recognize the fact that it is nearly impossible to dismiss all reference. Language poets are primary toward whatever meaning a reader is lucky enough to cull. Language poets like myself do not necessarily want to make sense but to make what? Startling.

Language poets don’t fit so easily into a fixed mold. My aporia. If poetry is a kind of talk.

Language poets like Bernstein are positing what we might call the absence of the pronoun. Language poets are not William Logan’s cup of tea.

Language poets are concerned with the underlying political ramifications of the American workshop poem. Language poets have all taken a journey past the restrictions of Imagism and classical Chinese poetry. Language poets wish a plague on both houses for their presumed shared sense of self.

Language poets go on vacation, they leave Stein and Wittgenstein at home and take Sappho.

Language poets want to be rhetorical, but subtly, denying the subjectivity of art. Language poets go on and on about this.

Language poets do not intend to shape "limits" with their poetry but set in motion "conversations." Language poets do that, and poetry of that sort is usually equally obfuscatory and difficult.

Language poets appear more ubiquitous, and more authoritative and powerful, than they actually are. Language poets are just a few examples of the production of our postmodern world.

Language poets do a lot of work that most of the time doesn’t interest me. Language poets do not appear, as yet, to write good poems. Language poets are totally trivial and boring, so I won’t pursue that one. Language poets have inflated egos and love the sound of their own voice, e.g. Victor Hugo. I certainly think.

Language poets have been accused of generating a private discourse, one which their critics suggest. Language poets have taken, it does seem to me, a little burst of anti-intellectualism floating about.

Language poets have encouraged a greater awareness within the field of poetry. Language poets are usefully exploring a frontier and may be making us more conscious of language. Language poets try to give the most exact details possible. Then their readers can imagine.

Language poets use the Poetry: Reference Sources guide to check print sources. Language poets use the Index in Volume 8. Nineteenth Century Literary Criticism, Twentieth Century. Language poets are arranged by name or anonymous title.

Language poets use Art Deco ceramic capacitor, Smack for Blair at Birth of Euro, Lophophora seed. Language poets have traditionally used that plant to suggest the sadness of parting.

Language poets are not the gatekeepers of a citadel of higher consciousness.

Language poets are not so much the unacknowledged legislators as the foreshadowing legislators.

Language poets are people steeped in language. Language gives you the manner of the poem, as well. Language poets have completely subtracted a certain variable–"emotion"–from the poetic. Language poets are writing only about language itself. Language poets get closer to New Criticism as Silliman at one point ruefully admits.

Language poets are dealing with these old notions; there’s nothing new about them. You’re given that. Language poets have answered those questions.

Language poets try to get beyond poetry that is merely "about" a subject, Ms. Perloff said. Language poets are much more concerned with arranging images than with creating them. Language poets do not invent them out of thin air. To construct a new metrical system.

Language poets are fairly obsessed with technology. Barrett Watten has a poem.